Imagination, Music, and the Emotions: A Philosophical Study

Description

Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Contents Introduction Chapter I: Emotions, Moods, and Feelings I.1. Introduction I.2. What are Emotions? I.3. Emotions, Beliefs, and Moods I.4. Other Views: Martha Nussbaum’s Neo-Stoic Cognitivism I.5. Paul Griffiths’s Theory I.6. Jesse Prinz’s Somatic View I.7. A Concluding Concession Chapter II: Expression Theories and Arousalism II.1. Introduction II.2. Bruce Vermazen’s Expression Theory II.3. Jerrold Levinson’s Persona Theory II.4. Jenefer Robinson’s Theory II.5. Contra Simple Arousalism II.6. Aaron Ridley’s Moderate Arousalism II.7. Derek Matravers’s Moderate Arousalism II.8. Charles Nussbaum’s View II.9. Conclusion Chapter III: Metaphors and Metaphorism III.1. Introduction III.2. Against Metaphorism (Part 1) III.3. Metaphorical Meaning and Paraphraseability III.4. Against Metaphorism (Part 2) III.5. Metaphors, Resemblance, and Imagination III.6. Against Metaphorism (Part 3) III.7. Conclusion Chapter IV: Resemblance-Based Theories IV.1. Introduction IV.2. Resemblance-Based Views IV.3. Criticisms IV.4. Objections and Replies IV.5. Conclusion Chapter V: Imagination V.1. Introduction: Different Kinds of Imaginings V.2. Imaginative Perceptions and Perceptual Imaginings V.3. Children’s Imaginings V.4. Gregory Currie’s View V.5. Imagination, Music Perception, and Musical Culture V.6. Conclusion Chapter VI: Imaginationism VI.1. Introduction VI.2. Against Formalism about Music VI.3. How We Imagine in Relation to Music VI.4. Why We Imagine in Relation to Music VI.5. Musical Arousal VI.6. Objections and Replies VI.7. Conclusion Summary and Conclusion Notes References Index